Archival Giclee Prints
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Judy Rey Wasserman's Prints - Archival Quality

It took over a year from the time that Judy Rey Wasserman learned of the possibility of having fine art Giclee prints until she began producing them in-house. That time was spent researching the various printers, inks, media and the possibility of sending the work out or learning how to create them in-house. Time was spent meeting with various Giclee printers and artists who use their services. Some of the quality was excellent, but still not quite good enough. A collector does not have to be a believer to appreciate Judy Rey Wasserman's work, but still, for those who do believe, it is the Bible that is in each and every painting and print. The quality of the prints has to be the best possible.

It was decided that the only way to assure collectors of the best archival quality was to create the work in-house. This meant a steep learning curve that included classes, much study, many sales pitches, endless research, learning programs, purchasing equipment including a specially created computer, calibration, and finally revamping and rewiring the studio to accommodate equipment.

How the prints are made

We begin with the best scan available, including using medium format film camera slides to capture the fullest image of the larger paintings. This means we obtain the greatest resolution and image quality and color. In fact, the scans we use and the dpi we print at are greater than the human eye can see or recognize. Since UnGraven Image paintings show what lies beneath our generally recognized reality, showing the clearest inmage possible, even beyond what normal vision allows seems to be important. So we strive to achieve that.

The fine art prints limited edition prints are created on equipment in the artist's own studio. Our in-house production is all on the newest Epson 4800 using only Epson archival media and inks. According to the Wilhelm research site they will last over 100 years. Every print is signed and numbered by the artist after being thoroughly scrutinized for any imperfection.

Any print that does not meet the highest standard is rejected and not part of the edition, nor signed by the artist.

You cannot buy a better quality fine art print!

Unfortunately, when it comes to "fine art prints" the consumer does not always get what she assumes she paid for. We've seen artist who are selling framed color photocopies (we know this because we worked in a graphic shop where artists came in and did this) at fairs and to clients, and also in web sites, in advertising and also in studios artists are selling lesser quality ink jet prints and litho prints as if they are fine art prints.

Other publishers and artists are selling lithos and regular ink jet prints, including on much older Epson or Canon printers with inks and media not rated to last half as long as the newer technology we are using for the Giclees. Just because an artist signs and numbers a print, it does not mean it is a good quality print or that it has a long archival life (if properly cared for) or can be considered as a wise investment. We have an older inkjet we use to print business cards and some advertising materials on one such a machine, and it looks good, but cannot compare to the Giclees we produce.

Numbering of the Prints

Each print is selected for a limited number of prints. This is based on the media and size of the original painting that the print is based on.

The acrylic paintings will have two differently sized (larger and smaller) limited edition print sets on Epson's Ultra Fine Art paper. By early 2006 there will also be an archival and remarke edition on canvas. These will not only be hand signed and numbered but also enhanced by painting with acrylic paint, making each truly one of a kind.

Some artists issue special editions of their prints, under various impressive names to get around the fact that they are adding to the original edition number. This is unfair to the original collectors as it dilutes the market for the prints already own. Other artists get around this by selling signed and numbered prints, but the number of prints in an edition remains open. For instance, a print that is simply numbered with a "12" may be the twelfth print but out of how many? I00, 500, 1,000. The fine art standard is that every print is signed and numbered with both the number of the print as well as the number of the edition total. Knowing the exact number of prints in an edition and keeping track of the ownership of each specific print (provenance) helps a fine art print retain and grow in worth. Obviously, prints with runs in the thousands are generally not worth what a smaller run by the same artist is worth given equal size, materials and print quality.

To see what the edition sizes and numbers are (or will be) for each print, click on the image of the print on the prints page.

 


Sag Harbor Bridge Sunset
Genesis: Sunset-Sunrise series

 

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